Its soft quirkiness notably in the lowercase "e" gives this type a great personality in titles and in body texts while retaining optimized legibility. It has elegant ligatures and curvier alternates if ever the need of a bit more personality arises.

AIRDANCER is a super-extended sans serif typeface designed to be used vertically on a 20ft bright orange airdancer for the 2018 semester opening at HfG Karlsruhe.
This font has been carefully optimized and offers a central-european latin character set.
Total glyphs count: 192

Please feel free to contact me for purchase requests or any questions regarding this font.

Ozzy is a strange and wonderful display typeface that travels the Silk road from West to East. The name comes from the famous Shelley poem, Ozymandias, whose kingdom lies in ruins in the desert sand. The letters of Ozzy are reconstructed out of these ruins, using elements from ancient Arabic Kufic and Chinese seal script, combined with the swollen forms of Sixties album covers and the swashes of American brand logos from the 60's. Ozzy aims to surprise you with its unpredictable and idiosyncratic shapes. It is sharp, graphic and strong, but it sways gently too and fro like the load on a camel's back.

Ozzy is a strange and wonderful display typeface that travels the Silk road from West to East. The name comes from the famous Shelley poem, Ozymandias, whose kingdom lies in ruins in the desert sand. The letters of Ozzy are reconstructed out of these ruins, using elements from ancient Arabic Kufic and Chinese seal script, combined with the swollen forms of Sixties album covers and the swashes of American brand logos from the 60's. Ozzy aims to surprise you with its unpredictable and idiosyncratic shapes. It is sharp, graphic and strong, but it sways gently too and fro like the load on a camel's back.

Nieuk (Polish for dunce) is an experimental, modular typeface with lowercase letters only. Characters where constructed by reflecting, rotating and duplicating only two elements – a straight line and an arch. These two were enough to build three sets of consistent shapes.

As it would be expected from a dunce doesn’t hold a baseline. The letters are placed on various levels and have differing heights. This results in a tendency to connect in unexpected ways. Since it is uncommon for latin-based languages, it creates an illusion of foreign script

The typeface creates playful, dynamic-looking sentences. Headlines set in Nieuk are eye-catching and modern. OpenType feature Contextual Alternates (calt) allows to intertwine the three sets.

Maruder (Polish for Marauder) is a reversed contrast display typeface balancing it's shapes between heavy curves and sharp lines. The first ones, heavy curves seems more friendly whereras the the sharpness is constantly ready to attack and maraud. Maruder is available in 2 styles (Regular and Italic)

Benson Spirit is an adaption of results I achieved during a contrast research based on roman construction at Letterstudio at KABK in The Hague. All drawings went through a lot of iterations and developments and still remain as work in progress, therefore it is not for sale yet. I'm planning to offer Benson Spirit in several weights, coming with a few features, special characters, ligature and all that good stuff type design is offering.

TИГР/TIGR is my first take on a sans-serif typefaces. It aims for a dynamic, contemporary approach to humanist lettering. My inspiration was mainly drawn from all-time classics such as Gill Sans and Antique Olive. However TИГР/TIGRs edgy letter shapes create a timely, characteristic appearance trough snappy strokes and sharp endings. The narrowing line width towards stems or junctions creates an image of easiness in movement – reemphasized by the wide stand of the capital letters. The thus resulting large, very specific counters qualify TИГР/TIGR for both long running text, as well as distinctive display appearances.

This font has been carefully optimized and offers an extended latin character set, the cyrillic basic and extended adobe sets as well as stylistic alternatives.

Total glyphs count: 575

Please feel free to contact me for purchase requests or any questions regarding this font.

Freya is inspired by classic Antiqua serif typefaces such as the famous „Caslon“ or „Didot“ which are almost three decades old. With great attention to detail and an unique approach, Freya is a modern interpretation of an old classic with its very own personality.
Freya has a strong varying thickness between the thick and thin strokes and therefore plays a lot with contrast. The whole idea of contrast comes together in different weights of the typeface family, which are connected through the same thickness of all horizontal lines. Freya is created in a consistent gradient of styles to ensure best functionality for Headlines and Text. Through its sharpness and elegant construction the typeface set its context in the field of lifestyle and fashion. Its features are carefully balanced to create a modern and novel appearance.

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).